The Yamaha EMX5016CF delivers the convenience of an integrated powered mixer with input capacity, flexible features, and solid sound that critical live applications demand. It is remarkably compact and portable for a live sound system with this much capability. And thanks to leading Yamaha digital technology, the EMX5016CF also includes a number of innovations that make it easier than ever to achieve top-class sound in just about any venue. An impressive power output of 500 watts per channel mea... Read more
Part Numbers: EMX-5016-CF, EMX5016CF, EMX5016CF 16
UPC: 0086792856216, 086792856216
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Yamaha EMX5016CF, size: 4.9 MB
Yamaha EMX 5016CF Powered Mixer
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Mixer Basics Making the Most of Your Mixer
Balanced, UnbalancedWhats the Difference?
In a word: noise. The whole point of balanced lines is noise rejection, and its something theyre very good at. Any length of wire will act as an antenna to pick up the random electromagnetic radiation were constantly surrounded by: radio and TV signals as well as spurious electromagnetic noise generated by power lines, motors, electric appliances, computer monitors, and a variety of other sources. The longer the wire, the more noise it is likely to pick up. Thats why balanced lines are the best choice for long cable runs. If your studio is basically confined to your desktop and all connections are no more than a meter or two in length, then unbalanced lines are fineunless youre surrounded by extremely high levels of electromagnetic noise. Another place balanced lines are almost always used is in microphone cables. The reason for this is that the output signal from most microphones is very small, so even a tiny amount of noise will be relatively large, and will be amplified to an alarming degree in the mixers high-gain head amplifier.
Microphones: Short line-level runs: Use balanced lines. Unbalanced lines are fine if youre in a relatively noise-free environment. The ambient electromagnetic noise level will be the ultimate deciding factor, but balanced is best.
Long line-level runs:
How Do Balanced Lines Reject Noise?
** Skip this section if technical details make you queasy. ** Balanced lines work on the principle of phase cancellation: if you add two identical signals out of phase (i.e. one signal is inverted so its peaks coincide with the troughs in the other signal), the result is nothing. A flat line. The signals cancel each other out. While the desired audio signals in the hot and cold conductors are out of phase, any noise induced in the line will be exactly the same in both conductors, and thus in phase. The trick is that the phase of one signal is reversed at the receiving end of the line so that the desired audio signals become in-phase, and the induced noise suddenly finds itself out of phase. The out-of-phase noise signal is effectively canceled while the audio signal is left intact. Clever, eh? Balanced noise cancellation
Hot (+) Cold () Phase inversion Ground Cable
Phase inversion Noise cancelled
A balanced cable has three conductors:
1) A ground conductor which carries no signal, just the ground or 0 reference against which the signal in the other conductors fluctuates. 2) A hot or + conductor which carries the normal-phase audio signal. 3) A cold or conductor which carries the reverse-phase audio signal.
It might sound overly simple, but it is usually a good idea to start with all channel faders offall the way down. Its also possible to start with all faders at their nominal settings, but its too easy to lose perspective with this approach. Start with all faders down, then bring them up one by one to fill out the mix. But which channel should you start with?
Example1: Vocal Ballad Backed by Piano Trio
What are you mixing? Is it a song in which the vocals are the most important element? If so you might want to build the mix around the vocals. This means bringing the vocal channel up to nominal first (if your level setup procedure has been done properly this will be a good starting point), and then adding the other instruments. What you add next will depend on the type of material you are working with and your approach to it. If the vocals are backed by a piano trio and the song is a ballad, for example, you might want to bring in the piano next and get the vocal/piano relationship just right, then bring in the bass and drums to support the overall sound.
Example2: Funky R&B Groove
The approach will be totally different if youre mixing a funky R&B number that centers on the groove. In this case most engineers will start with the drums, and then add the bass. The relationship between the drums and bass is extremely important to achieve the drive or groove the music rides on. Pay particular attention to how the bass works with the kick (bass drum). They should almost sound like a single instrumentwith the kick supplying the punch and the bass supplying the pitch. Once again, there are no rules, but these are concepts that have been proven to work well.
To EQ or Not to EQ
In general: less is better. There are many situations in which youll need to cut certain frequency ranges, but use boost sparingly, and with caution. Proper use of EQ can eliminate interference between instruments in a mix and give the overall sound better definition. Bad EQand most commonly bad boostjust sounds terrible.
Cut for a Cleaner Mix
frequency ranges of some
For example: cymbals have a lot of energy in musical instruments. Cymbal the mid and low frequency ranges that you Piano dont really perceive as musical sound, but which can interfere with the clarity of other Bass Drum instruments in these ranges. You can basically Snare Drum turn the low EQ on cymbal channels all the Bass way down without changing the way they sound in the mix. Youll hear the difference, Guitar however, in the way the mix sounds more Trombone spacious, and instruments in the lower Trumpet ranges will have better definition. Surprisingly enough, piano also has an incredibly powerful 500 1k 2k 5k 10 k 20 k (Hz) low end that can benefit from a bit of lowfrequency roll-off to let other instruments Fundamental: The frequency that determines the basic musical pitch. notably drums and bassdo their jobs more Harmonics: Multiples of the fundamental frequency that play a role in determining the timbre of the instrument. effectively. Naturally you wont want to do this if the piano is playing solo. The reverse applies to kick drums and bass guitars: you can often roll off the high end to create more space in the mix without compromising the character of the instruments. Youll have to use your ears, though, because each instrument is different and sometimes youll want the snap of a bass guitar, for example, to come through. Some Frequency Facts The lowest and highest frequencies than can be heard by the human ear are generally considered to be around 20 Hz and 20,000 Hz, respectively. Average conversation occurs in the range from about 300 Hz to about 3,000 Hz. The frequency of a standard pitchfork used to tune guitars and other instruments is 440 Hz (this corresponds to the A3 key on a piano tuned to concert pitch). Double this frequency to 880 Hz and you have a pitch one octave higher (i.e. A4 on the piano keyboard). In the same way you can halve the frequency to 220 Hz to produce A2 an octave lower.
Boost with Caution
If youre trying to create special or unusual effects, go ahead and boost away as much as you like. But if youre just trying to achieve a good-sounding mix, boost only in very small increments. A tiny boost in the midrange can give vocals more presence, or a touch of high boost can give certain instruments more air. Listen, and if things dont sound clear and clean try using cut to remove frequencies that are cluttering up the mix rather than trying to boost the mix into clarity. One of the biggest problems with too much boost is that it adds gain to the signal, increasing noise and potentially overloading the subsequent circuitry.
Reverb and Delay Time
A variety of reverb and delay effect programs are provided, and nearly all of then have a reverb/delay time parameter than can be adjusted via the panel PARAMETER control. Small adjustments to the reverb/delay time can actually have a significant effect on the sound. The optimum reverb time for a piece of music will depend on the musics demo and density, but as a general rule longer reverb times are good for ballads, while shorter reverb times are more suited to up-tempo tunes. Delay times can be adjusted to create a wide variety of grooves, and you need to select the time that best suits the music. When adding delay to a vocal, for example, try setting the delay time to dotted eighth notes corresponding to the tunes tempo.
Different reverb programs will have different reverb tone due to differences in the reverb time of the high or low frequencies, or differences in the overall frequency response of the reverb sound. Always be careful not apply too much reverb, particularly in the high frequencies. In addition to resulting in unnatural sound, excessive high-frequency reverb can interfere with the high frequencies in other parts of the mix. If you can hear more reverb than direct sound in the upper frequency range, try selecting a different effect program. Its always a good idea to choose a reverb program that gives you the depth you want without detracting from the clarity of the mix.
Have you ever wondered why professionally produced recordings sound so different from your own? There are numerous reasons, of course, but one important factor is the judicious use of compression. One form of compression known as limiting can, when properly used, produce a smooth, unified sound with no excessive peaks or distortion. Compression can also be used within a mix to make a voice or instrument seem to come forward, or simply to even out level differences. Compression can be used to make a mix seem bigger and louder by producing a more saturated sound. Professional compressors have numerous parameters that need to be carefully adjusted: attack, release, threshold, level, and sometimes more. A professional sound engineer might need to spend a considerable amount of time, based on a considerable amount of experience, to set each of these parameters to achieve the desired sound.
INPUT The EMX compressor makes achieving great sound much easier. All you need to do is set a single compression control and all of the pertinent parameters are automatically adjusted for you. The engineers who designed this fine compressor paid careful attention to achieving the best sound quality possible so that you can quickly achieve pro-quality compression without having to worry about a confusing multitude of settings.
2 LINE/MIC Jacks (Channels 9/10 to 15/16)
These jacks accept stereo inputs and mic inputs. Use these to connect up stereo output devices, such as stereo synthesizers and CD players, and microphones. LINE jacks: Unbalanced stereo inputs. Each channel pair have phone jacks and RCA pin jacks. MIC jack: XLR balanced mic-level input jack. If you are connecting a condenser microphone, be sure to turn the PHANTOM switch c to its ON position.
When using phantom power, do not connect any devices other than condenser microphones to the XLR input jacks. Other devices may be damaged if connected to phantom power. This precaution does not apply to balanced dynamic microphones, however, as these will not be affected by phantom power. If you wish, you may use the channel pairs LINE and MIC jacks together at the same time. But note that the levels cannot be adjusted independently.
Reference Front & Rear Panels
3 INSERT I/O Jack (Channels 1 to 8)
Each of these jacks is positioned between the equalizer and fader of the corresponding input channel (1 to 8). You can use these jacks to connect channels to devices such as graphic equalizers, compressors, and noise lters. These are TRS (tip, ring, sleeve) phone jacks that support bidirectional operation.
Connection to an INSERT I/O jack requires a special separately-sold insertion cablesuch as the Yamaha YIC025, YIC050, or YIC070as shown below.
To the input jack of the external processor
To the INSERT I/O jack Tip:OUT
Sleeve (Ground) Sleeve (Ground) Ring :IN Tip:OUT Tip:IN
To the output jack of the external processor
4 [26 dB] Switch (Channels 1 to 8) 8 8
Pressing this button turns on the attenuator for each channel, attenuating the input signal level by 26 dB. If you have connected a line-level device, such as a keyboard or audio device, set the channels switch to ON ( ). If you have connected a microphone or other mic-level device, set the switch to OFF ( ).
5 GAIN Control A B C D E F A B C D E F 6
Adjusts the gain applied to the input signal level. To get the best balance between the S/N ratio and the dynamic range, adjust the gain so that the PEAK indicator D comes on only at about maximum input level. The 60 to 16 scale indicates the MIC input adjustment level. The 34 to 10 scale indicates the LINE input adjustment level.
(High Pass Filter) Switch
Switches the high pass lter on/off. To turn the HPF on, press this switch in. The HPF cuts frequencies below 80 Hz. (But note that regardless of the switch setting, the mixer does not apply this HPF to the line inputs of stereo input channels.)
7 COMP knob (Channels 1 to 8)
This knob adjusts the level of compression applied to the channel. As the knob is turned to the right, the mixer automatically raises the compression ratio while adjusting the output gain accordingly. The result is a narrower, more even dynamic range, as louder signals are softened while the overall level is boosted. Avoid setting the knob too high, however, as excess compression may lead to howling.
8 Equalizer (HIGH, MID, and LOW)
This three-band equalizer adjusts the channels high, mid, and low frequency bands. Setting the knob to the position produces a at frequency response for the corresponding frequency band. Turning the knob to the right boosts the corresponding frequency band, while turning to the left attenuates the band. On channels 1 to 8, the MID range is controlled by two knobs. The upper knob sets the center frequency for the mid range, while the lower knob sets the attenuation (counterclockwise) or boost (clockwise) for the range. (Again, setting the lower knob to produces a at response.) On stereo channel pairs 9/10 to 15/16 the mid-range frequency is xed at 2.5kHz, so only one MID knob is provided. The following table shows the equalization type, the base frequency, and the maximum cut/boost for each of the three bands.
Band HIGH MID LOW Type Shelving Peaking Shelving Base Frequency 10 kHz 250 Hz to 5 kHz variable (CHs 1 to 8) 2.5 kHz (CHs 9/10 to 15/16) 100 Hz 15 dB Maximum Cut/Boost
B PAN Control (Channels 1 to 8); BAL Control (Channels 9/10 to 15/16)
The PAN control determines the positioning of the channels signal on the Stereo L and R buses. The BAL control sets the balance between left and right channels. Signals into the L input (odd channel) feed to the Stereo L bus; signals into the R input (even channel) feed to the Stereo R bus.
If you are inputting to a stereo channel through the L (MONO) jack only, the BAL knob operates as a PAN knob.
C ON Switch
Switches the channel on or off. (The indicator lights up if the channel is on.) Be sure to turn on all the channels that you wish to use. If you switch the channel off, you cut off all of its signal feed into the Stereo, AUX, and EFFECT buses.
To reduce noise, turn off all unused channels.
D PEAK Indicator
Detects the peak level of the post-equalizer signal, and lights up red when the level reaches 3 dB below the clipping level.
If you are returning a signal from an external effector into a LINE jack on any channel pair 9/10 to 15/16, please be sure to turn the EFF1/2 knob for that channel pair to 0.
AUX1, AUX2 These unbalanced phone jacks output monaural monitor signals from the AUX1 and AUX2 buses, respectively. You use these jacks, for example, to connect to an effector or to a cue box or other such monitoring system.
I PROGRAM Dials
These let you select the type of effect from 16 different types for EFFECT 1 and EFFECT 2. For details on each of the effect types, refer to page 37.
J PARAMETER Knobs
Each knob adjust the parameter (depth, speed, etc.) associated with the selected effect type.
The mixer saves the last value used with each effect type. When you change to a different effect type, the mixer automatically restores the value that was previously used with that type (regardless of the current position of the PARAMETER knob).
K AUX1/2 Knobs J
Each knob adjusts the level of the effected sound into the corresponding AUX1 and AUX2 buses.
L EFF1/2 ON Switches/Indicators
Switches use of the internal effect on or off. The internal effect is applied only if this switch is turned on. To set the switch on, press it in so that it lights up. As an alternative to the ON switch, you can use a separately sold FC5 foot switch to toggle the effector on and off.
The On/Off status of the internal effects will be retained, even when you turn off the mixer's power.
M PFL (Pre-Fader Listen) Switches
Set this switch on to feed the signal from the internal digital effect signal (pre the EFF1/2 RTN faders) into the PFL bus, so that it can be monitored at the PHONES jack.
The signal will not feed into the PFL bus if the effects ON switch is turned off. The PFL (F, M, i) and AFL j switches select the mix to be monitored at the PHONES jack. If the channels PFL or AFL switch is ON, the channels output is mixed into the monitor signal to the PHONES jack. If both switches are OFF, the channel output is not fed to the PHONES jack.
N EFF1/2 RTN Faders
Adjusts the level of the effected sound into the Stereo bus.
O Q T P R S
O ST SUB OUT Jacks
These unbalanced phone jacks output the mixed stereo signal (L and R), where the level is adjusted by the ST SUB OUT control g. You would typically use these jacks to connect to an external mixer or a supplementary SR system.
P REC OUT Jacks
These RCA pin-type unbalanced output jacks can be used to send the main stereo signal to an external DAT recorder or cassette recorder. The jacks output the stereo signal pre adjustment by the ST master fader l and graphic equalizer W. As the signal is not adjusted by these controls, please be sure to make appropriate level adjustments at the external recording device side.
This selector lets you set the maximum output from for the 2-channel internal amp to any of three levels. Set this to match the size of your room or the input capacity of your speakers. 500W: Maximum 500W + 500W/4 ohms. 200W: Maximum 200W + 200W/4 ohms. 75W: Maximum 75W + 75W/4 ohms
a POWER AMP Switch
Selects the output that gets sent to the SPEAKERS jacks, as follows. L/R: SPEAKERS jacks A1 and A2 output the signal from the Stereo L bus, while jacks B1 and B2 output the signal from the Stereo R bus. The overall volume is adjusted by the ST master fader. AUX1/MONO: SPEAKERS jacks A1 and A2 output the signal from the AUX 1 bus; the volume for this signal can be adjusted using the AUX1 fader. SPEAKERS jacks B1 and B2 output the mix of the signals on the Stereo L and R buses; the volume can be adjusted with the ST master fader. AUX1/AUX2: SPEAKERS jacks A1 and A2 output the signal from the AUX 1 bus, while jacks B1 and B2 output the signal from the AUX2 bus. Volumes can be adjusted using the AUX1 and AUX2 faders, respectively.
A notch lter created by AUTO mode will be reduced by 3 dB a minute after the lter has been created.
MANUAL mode Press the MANUAL DETECT switch to check for the next feedback point in the signal. If howling is found, (up to) one notch lter is created automatically. During the check, the MANUAL DETECT switch indicator ashes. The check is stopped when howling is found or not found for ve seconds. If notch lters are already created and another howling point is not found, the indicator goes off for a second, then lights up again. MANUAL mode detects howling more sensitively than AUTO mode. Use of this mode may mistakenly identify musical notes as howling during a performance; however, this mode is handy to set up precautionary notch lters beforehand by intentionally raising the levels and nding the howling points.
If a notch lter is created by pressing the MANUAL DETECT switch, the MANUAL ON switch is turned on automatically. To turn off Feedback Suppressor, press the MANUAL ON switch. The switch indicator turns off. If no notch lters are created, pressing the MANUAL ON switch cannot turn on Feedback Suppressor.
Settings Proper level* Proper level* Off 0 0dB 0dB 0dB Center On ( 0dB)*
This step is also handy for altering the location of the speakers and microphone, since the noise output is muted during the suspension. To resume the measurement, press the MEASURE/CORRECT switch again.
Turn off the channel 1 ON switch and lower the channel fader all the way down. Leaving the fader up and stopping the measurement in the step below can result in howling. Press the MEASURE/CORRECT switch for two seconds or longer to apply the correction curve to the GEQ according to the frequency characteristics of the measurement result. The MEASURE/CORRECT switch indicator ashes. Also, the GEQ ON switch lights up so that the GEQ is enabled.
Make sure that all faders other than channel 1 are set to their minimum and that no other signals are input. Set the POWER AMP switch to L/R.
To prevent clipping at the power amp stage by excessive equalization, the correction curve is never set over 6dB.
Press and hold the MEASURE/CORRECT switch for two to three seconds. The indicator begins ashing quickly, and measurement of the frequency characteristics starts. Adjust the ST Master fader to adjust the pink noise output level. To adjust the channel 1 input level, turn on the PFL switch, and adjust the [26dB] switch and GAIN control so that the LEVEL meter 0 ashes occasionally. Finally set the channel fader to the 0dB position.
If necessary, adjust the GEQ settings using the GEQ +/ switches. If you adjust the GEQ settings, the FRC indicator turns off. To restore the correction curve immediately after measurement, press the FRC MEASURE/CORRECT switch again. The indicator lights up.
10 If necessary, store the GEQ settings to a USER switch.
Reference Setting the GEQ with the FRC function
Setting up GEQ by Music Playback Measurement
This explains how to output music playback (such as from a CD player) via channels 15/16, pick up that signal picked from a microphone plugged into channel 1, and measure the frequency characteristics.
FRC Music Playback Measurement
[Block Diagram of Music Playback Measurement]
Connect the EMX to a set of speakers. Connect a microphone to channel 1 INPUT A or INPUT B, and place the microphone at the point to be measured. Connect a CD player to channels 15/16. Set up channels 1 and 15/16 as follows, and lower the ST Master fader all the way down. G Channel 1
Controls [26dB] switch GAIN control switch COMP knob HIGH MID F MID LOW AUX1 knob AUX2 knob EFF1 knob EFF2 knob PAN control ON switch Channel fader Settings Proper level* Proper level* Off 0 0dB 0dB 0dB ( Nominal position)* Center On ( 0dB)*
ASSIGN A PAN/SEND ASSIGN TONE PAN CUTOFF SWING ASSIGN B REVERB RESONANCE GATE TIME ASSIGN 1 CHORUS ATTACK VELOCITY ASSIGN 2 TEMPO RELEASE UNITMULTIPLY
REMOTE ON / OFF
ARPEGGIO ON / OFF
PRE 1 PRE 2 PRE 3 PRE 4
Integrated Sampling Sequencer / Modular Synthesis Plug-in System / Real-time External Control Surface
MUSIC PRODUCTION SYNTHESIZER
KNOB CONTROL FUNCTION
ARP FX KN 1 LOW EQ VOLUME 1 VOLUME 2 VOLUME 3 VOLUME 4 KN 2 LOW MID KN 3 HIGH MID KN 4 HIGH
BYPASS INSERTION SYSTEM MASTER EFFECT VOICE
SONG PATTERN FILE
INC / YES
SYN PAD/ CHOIR
DRUM/ CHROMATIC PERCUSSION PERCUSSION
SCENE SF1 SF2 SF3 SF4 SF5
COMMON ELEMENT/PERF. PART/ZONE
SCENE STORE SET LOCATE
In most cases it is sufcient to connect speakers to the SPEAKERS jacks on the units rear panel. If you want even more output, however, you can get it by connecting a power amp to the ST OUT, ST SUB OUT, or AUX 1/2 jacks, and then connecting speakers to the power amp.
Monitor Speakers CD Player
Foot Switch (YAMAHA FC5) Lamp
I Input Characteristics
Input Terminals PAD GAIN 60 dB 0 dB 16 dB CH INPUT A 1-dB 26 dB +10 dB 60 dB 0 dB 16 dB CH INPUT B 1-dB 26 dB +10 dB 10 k 600 Lines 3 k 50-600 Mics
Actual Load Impedance For Use With Nominal
ST CH MIC INPUT 9/10-15/16
60 dB 16 dB 34 dB +10 dB 10 k 10 k 3 k
Sensitivity *dBu (0.078 mV) 36 dBu (12.3 mV) 54 dBu (1.55 mV) 10 dBu (245 mV) 80 dBu (0.078 mV) 36 dBu (12.3 mV) 54 dBu (1.55 mV) 10 dBu (245 mV) 80 dBu (0.078 mV) 36 dBu (12.3 mV) 54 dBu (1.55 mV) 10 dBu (245 mV) 20 dBu (77.5 mV)
Input level Nominal 60 dBu (0.775 mV) 16 dBu (123 mV) 34 dBu (15.5 mV) +10 dBu (2.45 V) 60 dBu (0.775 mV) 16 dBu (123 mV) 34 dBu (15.5 mV) +10 dBu (2.45 V) 60 dBu (0.775 mV) 16 dBu (123 mV) 34 dBu (15.5 mV) +10 dBu (2.45 V) 0 dBu (0.775 V)
ST CH LINE INPUT 9/10-15/16 CH INSERT IN 1-8
600 Lines 600 Lines
Max. before clip 40 dBu (7.75 mV) +4 dBu (1.23 V) 14 dBu (155 mV) +30 dBu (24.5 V) 40 dBu (7.75 V) +4 dBu (1.23 V) 14 dBu (155 mV) +30 dBu (24.5 V) 40 dBu (7.75 mV) 10 dBu (245 mV) 14 dBu (155 mV) +30 dBu (24.5 V) +20 dBu (7.75 V)
XLR-3-31 type *3
Phone jack *4
Phone jack *5 RCA Pin jack *5 Phone jack *5
*1 0dBu is referenced to 0.775Vrms. *2 Sensitivity is the lowest level that will produce an output of +4dBu (1.23V), or the nominal output level when the unit is set to maximum level. (All faders and level controls are at maximum position.) *3 XLR-3-31 type connectors are balanced. *4 Phone jacks are balanced. (T=HOT, R=COLD, S=GND) *5 Phone jacks and RCA pin jacks are unbalanced.
I Output Characteristics
Output Terminals ST OUT [L, R] ST SUB OUT [L, R] AUX SEND 1, 2 EFF SEND 1, 2 CH INSERT OUT 1-8 REC OUT [L, R] PHONES [L, R] SPEAKERS
Actual Source Impedance
For Use With Nominal 600 Lines 600 Lines 600 Lines 600 Lines 10 k Lines 10 k Lines 40 Lines 4 Speakers
Output level Nominal +4 dBu (1.23 V) +4 dBu (1.23 V) +4 dBu (1.23 V) +4 dBu (1.23 V) 0 dBu (0.775 V) 10 dBV (316 mV) 3 mW 125 W Max. before clip +20 dBu (7.75 V) +20 dBu (7.75 V) +20 dBu (7.75 V) +20 dBu (7.75 V) +20 dBu (7.75 V) +10 dBV (3.16 V) 75 mW 500 W
Connector Phone jack *2 Phone jack *2 Phone jack *2 Phone jack *2 Phone jack *2 RCA pin jack Phone jack (TRS) SPEAKON Phone jack *2
*1 0dBu is referenced to 0.775Vrms. 0dBV is referenced to 1Vrms. *2 Phone jacks are unbalanced.
I Digital Effect Program List
G EFFECT 1
No. Program HALL 1 ROOM 1 PLATE 1 LARGE STAGE 1 SMALL STAGE 1 VOCAL ECHO KARAOKE DELAY CHORUS EARLY REF. GATE REVERB REVERSE GATE TREMOLO SINGLE DELAY DYNA FILTER PITCH CHANGE Parameter Reverb Time Reverb Time Reverb Time Reverb Time Reverb Time Delay Delay Delay LFO Freq Room Size Room Size Room Size LFO Delay Sensitivity Pitch Range 0.3 to 10.0 s 0.3 to 3.2 s 0.3 to 10.0 s 0.3 to 10.0 s 0.3 to 10.0 s 30.0 to 743.0 ms 40.0 to 265.0 ms 20.0 to 743.0 ms 0 to 39.7 Hz 0.1 to 10.0 0.1 to 10.0 0.1 to 10.to 39.7 Hz 0 to 743.0 ms 0 to to +12 Descriptions Reverb simulating a large space such as a concert hall. Reverb simulating the acoustics of a small space (room). Simulation of a metal-plate reverb unit, producing a more hard-edged reverberation. Reverb simulating a large stage. Reverb simulating a small stage. Echo designed for conventional vocals. Echo designed for karaoke (sing-along) applications. Feedback delay adding multiple delayed signals. Creates a thicker sound by modulating the delay time. An effect which isolates only the early reection components from reverberation, creating a ashier effect than conventional reverb. An effect which abruptly cuts the tail-end of the reverberation, making a more powerful sound. A reverse-playback type early reection. An effect which cyclically modulates the volume. Monaural delay adding a delayed signal. An effect which applies a low pass lter. An effect which changes the pitch of the signal.
G EFFECT 2
No. Program HALL 2 ROOM 2 PLATE 2 LARGE STAGE 2 SMALL STAGE 2 VOCAL ECHO KARAOKE DELAY CHORUS PHASER FLANGER SYMPHONIC DOUBLER AUTO WAH DISTORTION RADIO VOICE Parameter Reverb Time Reverb Time Reverb Time Reverb Time Reverb Time Delay Delay Delay LFO Freq LFO Freq LFO Freq LFO Depth Pitch Fine LFO Freq Drive Cutoff Offset Range 0.3 to 10.0 s 0.3 to 3.2 s 0.3 to 10.0 s 0.3 to 10.0 s 0.3 to 10.0 s 30.0 to 743.0 ms 40.0 to 265.0 ms 20.0 to 743.0 ms 0 to 39.7 Hz 0 to 8.08 Hz 0 to 8.08 Hz 0 to to 50 cent 0 to 8.41 Hz 0 to to 63 Descriptions Reverb simulating a large space such as a concert hall. Reverb simulating the acoustics of a small space (room). Simulation of a metal-plate reverb unit, producing a more hard-edged reverberation. Reverb simulating a large stage. Reverb simulating a small stage. Echo designed for conventional vocals. Echo designed for karaoke (sing-along) applications. Feedback delay adding multiple delayed signals. Creates a thicker sound by modulating the delay time. Cyclically changes the phase to add modulation to the sound. Adds a feeling of pitched sound. Multiplies the sound for thicker texture. Creates the effect of two voices or two instruments singing or playing the same phrase. A wah-wah effect in which the the frequency is modulated by LFO. Adds a sharp-edged distortion to the sound. Recreates the lo- sound of an AM radio. The parameter adjusts the frequency band to be emphasized.
444 (440 excluding screw heads) 8
CH INPUT STAND-BY
SUM BA BA
ST L(MUTE) ST R(MUTE) AUX 1(MUTE) AUX 2(MUTE) EFFECT1(MUTE) EFFECT2(MUTE)
ST L(NON-MUTE) ST R(NON-MUTE) AUX 1(NON-MUTE) AUX 2(NON-MUTE) EFFECT1(NON-MUTE) EFFECT2(NON-MUTE)
PFL L/AFL L PFL R/AFL R
ST SUB OUT [+4dBu]
[-60dBu to -16dBu]
L/MONO ST SUB OUT R
80 PAN PRE AUX1 [-6dBu] [0dBu]
[0dBu] ST L A/D ST OUT L
[-34dBu to +10dBu]
SIGNAL GR (CH Fader) [-10dBu]
26dB PRE AUX2 [-6dBu] D/A
GAIN [-60dBu to -16dBu] [-34dBu to +10dBu]
LOW Mid f MID HIGH
ST GEQ + FRC FBS
EFF 1 EFF 2 Multi Band Comp.
[0dBu] ST R A/D D/A ST OUT R
ST CH INPUT
[-30dBu to +14dBu]
L REC OUT
INV SUM PRE AUX 1
[0dBu] PAN/BAL [0dBu] [-6dBu] [0dBu]
SUM BA SUM
[0dBu] AUX1 [-10dBu]
CH9L,11L,13L,15L [-34dBu to +10dBu]
ST CH LINE
[-6dBu] [0dBu] EFF 1 EFF 2
GAIN [-34dBu to +10dBu] [+4dBu]
PRE AUX 2
(ST CH Fader)
[-6dBu] [0dBu] [0dBu] AUX1 [-10dBu]
CH10R,12R,14R,16R [-34dBu to+10dBu]
Block Diagram and Level Diagram
FOOT1 EFFE 1RTN [-10dBu]
BA SUM BA
EFF1 ON/OFF [0dBu]
D/A [0dBu] PHONES [-16dBu]
EFF1 OIT L
SEND EFF 2
EFF2 ON/OFF [-6dBu] [-6dBu]
[0dBu] AUX2 [0dBu]
EFF1 OIT R
EFF 1 ON
EFF1 ON EFF1 LED
LIMITER RE YSP
ON 200W 75W
For details please contact:
Printed in Japan
Serious Live Sound Capability Plus Innovative Digital Features
The EMX5016CF delivers the convenience of an integrated powered mixer with input capacity, flexible features, and solid sound that critical live sound applications demand. It is remarkably compact and portable for a live sound system with this much capability, but offers performance and reliability that will satisfy the discerning professional user either on the road or in installed applications. And thanks to leading Yamaha digital technology, the EMX5016CF also includes a number of innovations that make it easier than ever to achieve top-class sound in just about any venue. An impressive power output of 500 watts per channel means it can handle fairly large audiences, indoors or out. The EMX5016CF goes considerably beyond the standard definition of powered mixer, entering the realm of serious sound reinforcement. "COMP" CHARACTERISTICS
Versatile 16-Input Configuration Adapts to Varied Source Requirements
The EMX5016CF has a total of 16 input channels eight for monaural microphone or line input plus four stereo pairs. The stereo channel pairs can function either as monaural microphone inputs or stereo line inputs. This system gives you extra microphone inputs if your sources are mostly microphones, or if you need to handle more stereo sources the EMXCF will comfortably handle four pairs in addition to eight monaural microphone or line inputs. Switchable phantom power is provided for all microphone inputs.
Other Pro-class Features
Gain controls and 26-dB pad switches allow optimum level matching with just about any source. 80-Hz high pass filters for elimination of unwanted lowfrequency noise and rumble. Channel ON switches let you switch individual channels into or out of the mix. Pan control adjusts the position of mono channel signals in the stereo sound field, while balance controls on stereo channels control the balance of the stereo image. High-quality linear faders individually adjust the level of each channel. PFL (pre-fader listen) switches allow isolated monitoring of individual channels. All input channels feature signal and peak indicators for visual signal monitoring. Linear AUX 1, AUX 2, EFF1 RTN and EFF2 RTN faders with PFL (pre-fader listen) switches on the effect returns and AFL (after-fader listen) monitor switches on the auxiliary returns. Stereo master fader with both PFL and AFL monitor switches. Yamaha Speaker Processing delivers enhanced lows and high-end smoothness with Yamaha Club-series speakers. Limiter indicators tell you when the internal limiter circuitry has been activated due to power amplifier overload. Power Amp mode selector allows two-channel power amplifier to be quickly configured for Main + Main, Mono + Aux 1, or Aux 1 + Aux 2 operation. Power amplifier output selector allows selection of 500, 200, or 75 watt output per channel. Stand-by switch instantly mutes all mono inputs. Precise 12-segment stereo level meter. Phones jack with independent level control. High-quality SPEAKON speaker connectors for fast, reliable connection. Rack mountable with the optional RK5014 rack-mount kit. Console lamp connector accepts standard 3-pin XLR-connector gooseneck lamp (12 volts DC, 5 watts max.).
ST SUB OUT L/MONO
ST SUB OUT R
Dual Yamaha SPX Effect Processors
(440 excluding screw heads)
The EMX5016CF includes not one but two top-performance Yamaha SPX digital effect processors built in! You might only need ambience effects such as reverb and delay for live sound applications and the EMX5016CF includes some of the finest reverb and delay effects available but if you need other effects as well theyre right at your fingertips, and you can use two different effects simultaneously. Each effect processor offers a selection of 16 top-quality effects including reverb, echo, chorus, flanger, phaser, and even distortion, with editable parameters that allow you to customize each effect.
Dual AUX Sends
AUX 1 and AUX 2 send controls with pre/post fader switching adjust the level of the channel signal sent to the auxiliary buses for monitoring or external effects send. The availability of two AUX sends provides considerable flexibility for effect and monitor routing. You could, for example, use the channel EFFECT controls to control send level to the internal SPX effect processor while using AUX 2 to feed an external effects unit, and AUX 1 to feed a stage monitor system.
A Console-format Powered Mixer for Advanced Live Applications
More sources? Bigger venues? If your sound reinforcement requirements are getting serious, but you still want the convenience and reliable performance of a Yamaha powered mixer, check out the console-style EMX5014C. Heres an all-in-one solution that will appeal to bands and venue operators alike. The EMX5014C transports and sets up with the ease of systems built around the smaller EMX-series powered mixers, but will also prove its worth in more permanent installations. It can even be rack-mounted for vertical or angled operation, and real space savings! But of course the EMX5014C offers much more than just convenience. It provides a surprising palette of features and versatile signal routing options that can take your live sound to the next level. And its a Yamaha, so you know its going to sound great. "COMP" CHARACTERISTICS
Console Controllability and Versatility
With the many features and control functions provided by the EMX5014C, console style is the only way to go. Its still compact enough to be placed in the stage area and controlled by the performers especially if rack mounted but its console configuration also makes it an ideal choice for front-of-house type operation by a sound engineer. Linear faders are another advantage of the console layout, providing precise level control as well as graphic representation of relative channel levels.
AUX 1 and AUX 2 send controls, with pre/post fader switching for AUX 2, adjust the level of the channel signal sent to the auxiliary buses for monitoring or effects send. The available of two AUX sends provides considerable flexibility for effect and monitor routing. You could, for example, use the channel EFFECT controls to control send level to the internal SPX effect processor while using AUX 2 to feed an external effects unit, and AUX 1 to feed a stage monitor system.
Speaker A (Parallel)
Yamaha Speaker Processing
Youll undoubtedly want to use at least one pair of Yamaha Club-series speakers with the EMX5014C for the superior sound and projection they provide. If you do youll really appreciate the enhanced low-end output and high-end smoothness provided by built-in Yamaha speaker processing.
With the optional RK5014 rack-mount kit, the EMX5014C can be conveniently mounted in a portable or installed rack. This has been made possible by a combination of the mixers configuration and a highly efficient fan cooling system that ensures reliable, stable operation.
Integrated Solutions for Superior Live Sound
Experienced musicians, performers, speakers, and club operators know the importance of a high-quality sound system with the right features and performance to deliver their sound. Where portability and convenience are important criteria, a system based on a highperformance Yamaha EMX-series powered mixer is definitely the way to go. In one integrated, portable unit you have a mixer to combine and balance your microphone, instrument, and line sources, effects to refine and polish your sound, and power to drive the main speakers and even monitor speakers as well. But thats nowhere Angled Cabinet near the whole story Yamaha EMX-series Powered Mixers offer a range of for Easy Access This thoughtful feature makes the control features that let you mix, process, and deliver your sound with maximum quality panel easy to see and access when the unit is and creative control and, of course, that unrivalled Yamaha sound. placed on the floor.
Features For Superior Sound and Convenience
Great Yamaha Sound
Yamaha is a leader in the field of professional live sound for a very good reason: we deliver the sound and performance that the pros demand. The EMX-series powered mixers are no exception. Theyre built at the same standards of sonic performance and rugged reliability that makes Yamaha the first choice for live sound applications from schools to stadiums around the globe.
One-knob Compression on Mono Channels (EMX512SC & EMX312SC)
All four monaural mic/line channels on the EMX512SC and EMX312SC feature builtin compressors that can help to bring vocals to the front of the mix, give your guitars extra smoothness and presence, deliver a more punchy bass sound, and generally refine your mixes in a multitude of ways. These one-knob compressors are simple to use, too. Theres no need to juggle multiple attack, threshold, makeup gain, and other controls just set the COMP control to the amount of compression you need.
For larger venues and audiences, or if you plan to use it for outdoor sound, the EMX512SC with a pair of whopping 500-watt amplifiers to ensure that your music or message comes across with full impact.
FCL System indicator LEDs at the top of each channel light if the corresponding channel goes into feedback, so you wont have to fumble around searching for the channel that needs adjustment.
Up To 8 Mics, 12 Inputs Total 2 Stereo inputs 500 W + 500 W (4) 3-band Channel EQ 7-band Stereo Graphic EQ One-knob Compression FCL System
SPX Digital Effects Power Select Switch Standby Mode YAMAHA Speaker Processing Lightweight Design Angled Cabinet Rack Mountable
All three mixers in this series offer a total of 12 input channels four for monaural microphone (incl. Phantom Power) or line input, plus four pairs that can function either as monaural microphone inputs or stereo line inputs providing you with a versatile mix of input capabilities for a wide range of applications. If you need only microphone inputs you can use up to eight mic channels. Or if, for example, you want to play recorded background music during breaks (thats one stereo channel), and you have a keyboard player with a stereo-output keyboard (thats one more stereo channel), you still have six mic/line inputs. If you use all four stereo pairs to handle stereo line sources you have four channels available for mono mic or line input. This is a very versatile system that can adapt to your needs.
High Power For Main and Monitor Speakers
If you need a little more power 300 watts +300 watts and the added advantage of one-knob compression on mono channels, the EMX312SC may be the model you need.
FOOT1 D/A FOOT2 EFF1 OUT L EFF1 RTN [-10dBu] BA
[0dBu] SUM [0dBu] PHONES [-16dBu] INV BA EFF 2 [+4dBu] PHASE
SUM D/A EFF1 OUT R AUX1 AUX2 PFL [-6dBu] [-6dBu] BA
PROGRAM PARAMETER EFF 1 ON YE ENC1 [A-D] INSERT EFF1 ON EFF1 LED
An Inter view with the EMX Design Team
Built-in Compression Adds Live-sound Versatility to the new EMX-series Powered Mixers
* What is the main difference compared to previous EMX-series mixers? The main difference is built-in compression. Compression is indispensable in almost all professional recording and live-sound applications, but we believe that this is the first time it has been built into an analog live mixer. Most box type mixers have no insert connectors, so there has really been no convenient way to use compression with them. As a result, many users of this type of powered mixer have never used compression, but we wanted them to have that option in the new EMX series. Although compression is used in most pro audio applications, it has been a bit too difficult for beginners to take full advantage of. Thats why weve streamlined it down to the essentials and made it very easy to use. Another important new feature is FCL (Feedback Channel Location). This system detects feedback and shows you which channel is causing the problem. Some mixers from other manufacturers have indicators in the graphic equalizer section that show the feedback frequency, but indicating the problem channel allows the feedback to be more effectively controlled using channel EQ. If you try to control feedback using the EMX graphic equalizer, for example, you end up changing the sound of the entire program. For this reason it is far more effective to control it at the input, thus avoiding degradation of the overall sound. In the box-type 212C, 312SC, and 512SC, it was easy to mount the fan away from the circuit board to minimize degradation of the audio signal. But in the console-type EMX5016CF and EMX5014C finding the ideal fan location was extremely difficult. Since the fan must be located near the input circuitry, special measures have been taken to ensure that electronic and mechanical noise from the fan do not affect sound quality, while at the same time ensuring maximum heat extraction. The hardware team wanted to increase the size of the body by 30 millimeters, but our goals for a streamlined, compact design were important enough that we decided to find other ways to achieve the desired performance. The strength of the integral handles was also predicted using computer simulation, and as a result, we have achieved strength comparable to that of aluminum.
0dBu=0.775V 0dBV=1V +40dBu +30dBu +20dBu +10dBu 0dBu -10dBu -20dBu -30dBu -40dBu -50dBu -60dBu -70dBu CH INPUT (PAD OFF) GAIN Max. [-60dBu] ST CH MIC [-60dBu] CH INPUT (PAD ON) GAIN Max. [-34dBu] CH INPUT (PAD OFF) GAIN Min. [-16dBu] ST CH MIC [-16dBu]
Clip level Clip level
EFF IN 1 EFF IN 2
(AMP SIGNAL SELECT) L AUX1 AUX1 YSP
PROGRAM PARAMETER EFF 2 ON YE ENC2 [A-D] INSERT EFF2 ON EFF2 LED
POWER AMP 500W 200W 75W
LIMITER RE LIMITER PA
[500WMAX @ 4ohms]
EFF2 OUT L
BA SUM INV R MONO AUX2
YS PROCESSING YE LIMITER 500W 200W 75W RE LIMITER INV PA
L AUX1 AUX1
EFF2 OUT R AUX1 AUX2 PFL [-6dBu] [-6dBu]
R MONO B AUX2
ST AFL/PFL ST AFL/PFL DR DR
SPEAKER OUT (+35.2dBu) MAXIMUM OUTPUT POWER [500W/4ohms] [125W/4ohms] (+29.2dBu)
+40dB +30dB +20dB +10dB 0dB
CH INPUT (PAD ON) GAIN Min. [+10dBu]
ST CH LINE GAIN Min. [+10dBu] INSERT I/O [0dBu] ST CH IN [-10dBu] CH fader [-10dBu] CH & ST CH to ST [0dBu] (PAN,BAL Max.) ST SUB level control CH & ST CH to AUX/EFFECT [-6dBu] ST, AUX fader [-10dBu]
ST OUT, ST SUB OUT [+4dBu] AUX SEND, EFFECT SEND [+4dBu] [-6dBu] REC OUT [-10dBV] PHONES [-16dBu] [PHONES 3mW@40ohms]
-10dB -20dB -30dB -40dB -50dB -60dB -70dB
ST CH LINE GAIN Max. [-34dBu]
Reliability Without Compromising Performance
* The simplicity and aesthetic appeal of the designs are quite impressive. Tell us about the design concept. Simplicity was the main goal, particularly in the console-type 5016CF and 5014C. We wanted to consolidate the mixer controls, so the utility control section has been clearly separated. We didnt even want any handles to be visible. An important idea implemented in the box-type models is that they can be set at an angle like monitor speakers. The integral handles are also an important design feature, and achieving the required strength was a constant problem. Achieving the ideal blend of size, weight, and durability is quite difficult. As usual, demands from the sales team continue to escalate while the hardware and mechanics teams try to turn them into reality without ever reducing or compromising features or performance. Computer simulation was called into play once again, providing an accurate preview of the mold-flow characteristics of the resin used for the box-type housings. The final strength of the molded housings depends to a large degree on how the molten resin is introduced in the mold, and how it flows within the mold.
Achieving Pure Sound Quality
* What measures have been taken to ensure optimum sound quality? Of course sound quality is first and foremost in the design of any model. Achieving the lowest possible noise and hum when changing components is always a challenge. Theres influence from vibration, from the current flowing through the components themselves, and a simple op-amp IC change can precipitate a large change in sound. We often find ourselves using the best components we can find rather than compromise on sound quality. Even the FCL system has an effect on the sound, and we were able to achieve a dramatic improvement by simply eliminating a single component from the circuit. Once again, the final design depends on trial-and-error listening tests while changing components. With SPX effects in all models in this EMX series, plus compression and FCL, you can rely on a single EMX powered mixer to deliver outstanding live sound, especially in applications that use mostly microphones. * Most compressors have at least two controls, what is the idea behind having just one? Simplicity. Standard compression controls can be very difficult to set quickly and accurately, but weve managed to provide well-balanced threshold and ratio settings that can be controlled by a single knob. By focusing primarily on microphone applications in which compression is applied to vocals, acoustic guitar, or similar sources, greatsounding compression can be dialed in quickly and easily. Theres a good description of compression and its uses in the owners manual. We hope that our users will take advantage of this very useful feature.
EMX5016CF Maximum Output Power @ 0.5 % THD at 1 kHz Frequency Response Total Harmonic Distortion Hum & Noise Crosstalk @ 1 kHz Input Connectors CHANNEL EQ Phantom Voltage Digital Graphic Equalizer Digital Effects Power Amp. Mode Foot Switch Dimensions (W x D x H) Weight Power Requirements/Consumption 500 W/W/8 (UA) 320 W/8 (H) -3, 0, 1 dB 20Hz-20kHz, ref to the 1kHz output level, GAIN=MIN, PAD=OFF Less than 0.3 % (THD+N) +14dBu output into 600 @ 20 Hz-20 kHz Equivalent Input Noise, -128 dBu, GAIN=MAX, 20 Hz-20 kHz, CH1-8 MIC -68 dB CH 1-8: XLR and Phone CH 9/10-15/16: XLR. Phone and Pin CH 1-8: HIGH (10 k, Shelving), MID (mono: 250-5 k, st: 2.5 k, Peaking), LOW (100, Shelving) CH 9/10-15/16: HIGH (10 k, Shelving), MID (st: 2.5 k, Peaking), LOW (100, Shelving) 48 V 9 Band (63, 125, 250, 500, 1 k, 2 k, 4 k, 8 k, 16 kHz), Preset x 3, User preset x 3 SPX Digital Multi Effector (24 bit AD/DA, 32 bit Internal Processing): 16 Programs x 2 L/R, AUX1/MONO, AUX1/2 Effect On/Off 444 x 493 x 155 mm (17-3/8" x 19-3/8" x 6-1/8") 11 kg (24.2 lbs.) 120 V 60 Hz, 500W 220-240 V 50 Hz, 500W
CH INSERT IN (1-8) ST CH LINE INPUT 9/10-15/16 +10 dB 10 k CH INPUT B 1-8 -34 dB 26dB +10 dB ST CH MIC INPUT 9/10-15/16 -60 dB -16 dB -34 dB 10 k 3 k 50-600 Mics 0dB -16 dB 10 k 600 Lines CH INPUT A 1-8 -34 dB 26dB +10 dB -60 dB
Input Terminals PAD GAIN -60 dB 0dB -16 dB 3 k 50-600 Mics Actual Load Impedance For Use With Nominal Input Level Sensitivity *2 -80 dBu (0.078 mV) -36 dBu (12.3 mV) -54 dBu (1.55 mV) -10 dBu (245 mV) -80 dBu (0.078 mV) -36 dBu (12.3 mV) -54 dBu (1.55 mV) -10 dBu (245 mV) -80 dBu (0.078 mV) -36 dBu (12.3 mV) -54 dBu (1.55 mV) -10 dBu (245 mV) -20 dBu (77.5 mV) Position -60 dBu (0.775 mV) -16 dBu (123 mV) -34 dBu (15.5 mV) +10 dBu (2.45 V) -60 dBu (0.775 mV) -16 dBu (123 mV) -34 dBu (15.5 mV) +10 dBu (2.45V) -60 dBu (0.775 mV) -16 dBu (123 mV) -34 dBu (15.5 mV) +10 dBu (2.45 V) 0 dBu (0.775 V) Max. Before Clip -40 dBu (7.75 mV) +4 dBu (1.23 V) -14 dBu (155 mV) +30 dBu (24.5 V) -40 dBu (7.75 V) +4 dBu (1.23 V) -14 dBu (155 mV) +30 dBu (24.5 V) -40 dBu (7.75 mV) -10 dBu (245 mV) -14 dBu (155mV) +30 dBu (24.5 V) +20 dBu (7.75 V) Connector
XLR-3-31 type *3
Phone Jack *4
The Battle Against Heat
* Tell us about how you avoided heat problems in such compact enclosures. Heat and high power output unavoidably go handin-hand. In this case we were also determined to reduce weight, so the design, hardware, and mechanics teams joined forces to pursue this goal. Changing even a single component can alter the heat profile enough to require a change in heat sink design, and that change can cause a change in sound quality, so the design process involves a lot of trial and error. In this particular case, the fact that we were able to use internal heat-flow simulation and analysis was a huge advantage. We were able to define an enclosure shape on the computer, and then by analyzing the heat flow while refining the heat sink configuration we were able to come to within 80% or 90% of the ideal final design. The final stages using physical prototypes still relied on trial and error.
600 Lines 600 Lines
Phone Jack *5 RCA Pin Jack Phone Jack *5
*dBu is referenced to 0.775 Vrms. *2 Sensitivity is the lowest level that will produce an output of +4 dBu (1.23 V), or the nominal output level when the unit is set to maximum level. (All level controls are at maximum position.)
125kHz 250kHz 500kHz 1kHz 2kHz 4kHz 8kHz
MONITOR [-26dBu] [-26dBu]
Maximum Output Power
EMX512SC EMX321SC EMX212S
[0dBu] [0dBu] AFL [0dBu] AUX1 [-10dBu]
[500W 4ohms*2] [300W 4ohms*2] [200W 4ohms*2]
ST CH LINE IN [-34dBu ~ +10dBu] R
ST CH Fader
LINE R [-20dBu] MIC [-60dBu]
MAIN (L+R) SUM
YSP ON YSProcessing LIMITER
A: L/MAIN(L+R) SPEAKERS
[0dBu] [0dBu] AFL [0dBu] AUX2 [-10dBu]
CH INPUT (CH9/10, 11/12) LINE L [-20dBu] LINE R [-20dBu]
BA PEAK SIGNAL
[0dBu] [-6dBu] [-6dBu]
[0dBu] [0dBu] [0dBu]
EFFECT RETURN to MAIN IN EFFECT ON FOOT SW (EFFECT ON/OFF)
ST CH LINE [-34dBu ~ +10dBu]
B: R/MONITOR BA MONITOR OUT [+4dBu]
LED METER ST/AFL PFL
DSP YMM757-VTZ(SWL01T) CLOCK 16.9344MHz RO
EFFECT OUT [-6dBu]
EFFECT RETURN to MONITOR PROGRAM (1-16) PARAMETER
MAIN L MAIN R MONITOR EFFECT MAIN L (NON-MUTE) MAIN R (NON-MUTE) MONITOR (NON-MUTE)
FOOT SW EFFECT ON/OFF IN LO PROGRAM (1-16) PARAMETER ON
YE YSP ON
500W 200W 75W
EFFECT RTN [-10dBu]
ST L AUX1 AUX1
A: L/AUX1/AUX1 PA 2 1
DIGITAL EFFECT RO (DSP)
AUX1 AUX2 PFL
ST R MONO AUX2
SPEAKERS Maximum Output Power EMX512SC/312SC/212S [500W/300W/200W 4ohms]
+30dBu +20dBu +10dBu
Clip Level Clip Level Clip Level SPEAKERS EMX512SC/312SC/212S [125W/75W/50W 4ohms] MONITOR OUT [+4dBu] EFFECT OUT [-6dBu] RECT OUT [-10dBu]
0dBu=0.775V 0dBV=1V +40dB +30dB +20dB +10dB 0dB -10dB -20dB -30dB -40dB -50dB -60dB -70dB
CH INPUT (PAD OFF) GAIN Max. [-60dBu]
ST CH MIC [-60dBu]
+20dBu +10dBu 0dBu -10dBu -20dBu -30dBu -40dBu
MAIN OUT [+4dBu], MAIN [-8dBu] EFFECT (MONO) [-8dBu] EFFECT (ST) [-16dBu] INPUT A (LINE) [-20dBu]
INPUT B (LINE) [-30dBu]
(+35.2dBu) SPEAKER OUT MAXIMUM OUTPUT POWER [500W/4ohms] [125W/4ohms] (+29.2dBu)
+40dB +30dB +20dB +10dB
0dBu -10dBu -20dBu -30dBu -40dBu -50dBu -60dBu
INPUT A (MIC) [-50dBu]
INPUT B (MIC) [-60dBu]
ST CH LINE GAIN Min. [+10dBu]
ST OUT, ST SUB OUT [+4dBu] AUX SEND, EFFECT SEND [+4dBu]
LINE [-20dBu] MONITOR (MONO) [-26dBu] MONITOR (ST) [-34dBu]
INSERT I/O [0dBu] CH INPUT (PAD OFF) GAIN Min. [-16dBu] CH INPUT (PAD ON) GAIN Max. [-34dBu]
ST CH MIC [-16dBu]
CH & ST CH to ST [0dBu](PAN,BAL Max.)
ST SUB level control [-6dBu] [PHONES 3mW@40ohms] PHONES [-16dBu]
0dB -10dB -20dB -30dB -40dB -50dB -60dB -70dB
CH fader [-10dBu]
CH & ST CH to AUX/EFFECT [-6dBu]
REC OUT [-10dBV]
ST, AUX fader [-10dBu]
EMX5014C Maximum Output Power @ 0.5 % THD at 1 kHz Frequency Response Total Harmonic Distortion Hum & Noise Crosstalk @ 1 kHz Input Connectors EQ Phantom Voltage Graphic Equalizer Digital Effects Power Amp. Mode Foot Switch Dimensions (W x D x H) Weight Power Requirements/Consumption 500 W/W/8 (UA) 320 W/8 (H) -3, 0, 1 dB 20 Hz-20 kHz, ref to the nominal output level @ 1 kHz Less than 0.3 % (THD+N) +14dBu output into 600 @ 20 Hz-20 kHz Equivalent Input Noise, -128 dBu, GAIN=MAX, 20 Hz-20 kHz, ST OUT -68 dB CH 1-6: XLR and Phone CH 7/8, 9/10: XLR and Phone CH 11/12, 13/14: XLR and Pin HIGH (10 k, Shelving), MID (mono: 250-5 k, st: 2.5 k, Peaking), LOW (100, Shelving) 48 V 9 Band (63, 125, 250, 500, 1 k, 2 k, 4 k, 8 k, 16 kHz) SPX Digital Multi Effector (24 bit AD/DA, 32 bit Internal Processing): 16 Programs L/R, AUX1/MONO, AUX1/2 Effect On/Off 444 x 493 x 155 mm (17-3/8" x 19-3/8" x 6-1/8") 10.5 kg (23.1 lbs.) U/C: 120 V 60 Hz, 450 W H: 230 V 50 Hz, 450 W BS: 240 V 50 Hz, 450 W
ST CH INPUT 11/12-13/14 CH INSERT IN (1-6) +10 dB 10 k ST CH INPUT 7/8-9/10 -34 dB +10 dB -34 dB 10 k 10 k 600 Lines -16 dB CH INPUT B 1-6 -34 dB 26dB +10 dB -60 dB 3 k 50-600 Mics 0dB -16 dB 10 k 600 Lines CH INPUT A 1-6 -34 dB 26dB +10 dB -60 dB
EMX512SC, EMX312SC, EMX212S Specifications
Input Terminals PAD GAIN -60 dB 0dB -16 dB 3 k 50-600 Mics Actual Load Impedance For Use With Nominal Input Level Sensitivity *2 -80 dBu (0.078 mV) -36 dBu (12.3 mV) -54 dBu (1.55 mV) -10 dBu (245 mV) -80 dBu (0.078 mV) -36 dBu (12.3 mV) -54 dBu (1.55 mV) -10 dBu (245 mV) -80 dBu (0.078 mV) -36 dBu (12.3 mV) -54 dBu (1.55 mV) -10 dBu (245 mV) -54 dBu (1.55 mV) -10 dBu (245 mV) -20 dBu (77.5 mV) Position -60 dBu (0.775 mV) -16 dBu (123 mV) -34 dBu (15.5 mV) +10 dBu (2.45 V) -60 dBu (0.775 mV) -16 dBu (123 mV) -34 dBu (15.5 mV) +10 dBu (2.45V) -60 dBu (0.775 mV) -16 dBu (123 mV) -34 dBu (15.5 mV) +10 dBu (2.45 V) -34 dBu (15.5 mV) +10 dBu (2.45 V) 0 dBu (0.775 V) Max. Before Clip -40 dBu (7.75 mV) +4 dBu (1.23 V) -14 dBu (155 mV) +30 dBu (24.5 V) -40 dBu (7.75 V) +4 dBu (1.23 V) -14 dBu (155 mV) +30 dBu (24.5 V) -40 dBu (7.75 mV) -10 dBu (245 mV) -14 dBu (155 mV) +30 dBu (24.5 V) -14 dBu (155mV) +30 dBu (24.5 V) +20 dBu (7.75 V) Connector
EMX512SC Maximum Output Power @ 0.5 % THD at 1 kHz
EMX312SC 300 W/W/8 (UA) 180 W/8 (H) EMX212S 220 W/W/8 (UA) 130 W/8 (H)
CH INPUT 1-4 MIC Phone LINE CH INPUT 5/6, 7/8 XLR Phone XLR Pin 2 k 10 k 2 k 10 k 50-600 Mics 600 Lines 50-600 Mics 600 Lines 6 k 600 Input Terminals MIC/LINE MIC XLR LINE 2 k Actual Load Impedance For Use With Nominal 50-600 Mics Input Level Sensitivity *2 -60 dBu (0.69 mV) -30 dBu (21.8 mV) -50 dBu (2.18 mV) -20 dBu (69.0 mV) -60 dBu (0.69 mV) -20 dBu (69.0 mV) -60 dBu (0.69 mV) -20 dBu (69.0 mV) Position -35 dBu (13.8 mV) -5 dBu (436 mV) -25 dBu (43.6 mV) +5 dBu (1.38 V) -35 dBu (13.8 mV) +5 dBu (1.38 V) -35 dBu (13.8 mV) +5 dBu (1.38 V) Max. Before Clip -15 dBu (138 mV) +15 dBu (4.36 V) -5 dBu (436 mV) +25 dBu (13.8 V) -15 dBu (138 mV) +25 dBu (13.8 V) -15 dBu (138 mV) +25 dBu (13.8 V) Connector
500 W/W/8 (UA) 320 W/8 (H)
Frequency Response Total Harmonic Distortion Hum & Noise*1
-3, 0, 1 dB 20 Hz-20 kHz, ref to the nominal output level @ 1 kHz Less than 0.5 % (THD+N) +14 dB @ 20 Hz, 1 kHz, 20 kHz, GAIN control: all nominal Equivalent Input Noise, -115 dBu, Rs = 150 CH 1-4 MIC/LINE: MIC -65 dB CH 1-4: XLR and Phone CH 5/6, 7/8: XLR and Phone CH 9/10, 11/12: XLR and Pin HIGH (10 k, Shelving), MID (2.5 k, Peaking), LOW (100, Shelving) 15 V 7 Band (125, 250, 500, 1 k, 2 k, 4 k, 8 kHz): Main (Stereo) and Monitor SPX Digital Multi Effector (24 bit AD/DA, 32 bit Internal Processing): 16 Programs MAIN L/R, MAIN (L+R)/MONITOR Effect On/Off 442 x 274 x 286 mm (17-3/8" x 10-3/4" x 11-1/4") 8 kg (17.6 lbs.) U/C: 120 V 60 Hz, 450 W H: 230 V 50 Hz, 450 W A: 240 V 50 Hz, 450 W U/C: 120 V 60 Hz, 400 W H: 230 V 50 Hz, 400 W A: 240 V 50 Hz, 400 W U/C: 120 V 60 Hz, 270 W H: 230 V 50 Hz, 270 W A: 240 V 50 Hz, 270 W
Rack Mount Adaptor RK512
All models in this series can be rack-mounted using an optional rackmounting kit for optimum integration with any system or installation.
The Yamaha EMX5016CF delivers the convenience of an integrated powered mixer with input capacity, flexible features, and solid sound that critical live applications demand. It is remarkably compact and portable for a live sound system with this much capability. And thanks to leading Yamaha digital technology, the EMX5016CF also includes a number of innovations that make it easier than ever to achieve top-class sound in just about any venue. An impressive power output of 500 watts per channel means it can handle fairly large audiences, indoors or out. The EMX5016CF goes considerably beyond the standard definition of "powered mixer," entering the realm of serious sound reinforcement.
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